Month: June 2017

There was no preparation in the pre-production stage. Firstly we went to the Swanston Library and decided the best location for the Vox-pop. Each of the group members shared their personal ideas. We inspected the place and took location stills before the shoot. We decided to shoot on the main entrance of the Library. The Library entrance had enough light for the scene, so we stick on to one plan only. We also decided on the cast and crew roles for the next day, and I took the role of cinematographer.

PRODUCTION:

I was in charge of the camera and lighting in the production. My first task was to set up the camera settings, the frame rate was set in 24 fps and 1/100 shutter. The location had enough light, so the high exposure value and high shutter became the reason for less noise and excellent quality of the footage. The white balance or Kelvin value was 3900K.

We had made full preparation for the shooting, but production process started with a problem; we couldn’t start the shoot as expected because of some unknown security issues. My role was to handle the camera and also director gave me the full privilege to direct the shot. I need to tell the interviewee where to stand and where to move when doing the take. With the limited time, another issue was with setting the white balance. Setting white balance for each shot made out work slow. Later after going through the footages and audios, everyone in the was pleased with the quality and lighting of the raw files. After the shoot, I went and took overlay filler videos of the Library.

For the sound recording, we planned to position the boom mic as close as possible to the interviewee. We recorded ambience sound. There was no recording process.

POST-PRODUCTION:

Naming the raw footages and sound clip was the first step, and it was followed by setting up the project, sequence and bin in Premier Pro. The dialogues matched the lip sync of the interviewee perfectly. With the clapping sound of hand, the merging of audio and video was easy. Editing was the most straightforward task for me, I have experience working in Adobe Premier for feature films and ad films.

Two separate sequences were created to edit both client and my version of edit. Editing client version was easy because it had very few cuts and merge, and the captions were on the black screen. But Editing ‘My Movie’ version was interesting, as I had a perfect plan for the edit, like how the captions should appear and go. Caption and outline were designed in the Adobe Photoshop and synced to Premier. Sorting same questions and answers from footages were the difficult problem I faced during the edit.

Overlay filler footages were added before the start of the interview in the video. The raw footage had little bit shake, so ‘Wrap stabiliser’ effect was used to make it stabilise. Tracking in all the footages were in different speed, so time remapping was used to make it similar. Ambience sound was added in a new track. ‘Constant Power’ audio transition effect was used to sync adjacent audio clips.

Bin Screenshot:

Timeline Screenshot:

Workspace Screenshot:

Audio of the raw files was filled with noise and dialogues of the crew members. After arranging the clips and audio, each clip was exported to Adobe Audion to denoise and match the adjacent clips. After importing back the “Constant power” audio transition was used to match the audio with other audio clips.

I’m a great fan of Blue tone in movies. So, I decided to give a bluish tone to the whole film. The Three Way colour corrector and RBG curves were used for accomplishing the task. Reducing the saturations helped me to reduce the yellow and blue tone in the raw footage. I tried three different versions of grading. So to make the work easier, three adjustment layers were added in the timeline, and grading was done on the layers alone and placed the layer over the track were footage are sorted.

At the end of the video, a ‘Dip to Black’ effect was added to make a smooth ending to the video. With the help of ‘Pen Tool’, a fade was added to the audio at the end. End credits were added with the interviewee’s names.

Colour grading can affect viewers psychologically and physically, often without us being aware, and can be used as a strong device within a story. Knowledge gives you control, and control means you can manipulate colour to give your work a powerful and beautiful edge.Being able to use colour to create harmony, or tension within a scene, or to bring attention to a key visual theme can be used to spectacular effect.

In the sense of the work of the world’s greatest cinematographers, we admire so much nothing is accidental. A strong red colour has been shown to raise blood pressure, while a blue colour has a calming effect. Some colours are distinctly associated with a particular location or place, while others give a sense of time or period.

Before & After Screenshots:

The Three Way colour corrector and RBG curves were used for accomplishing the task. Reducing the saturations helped me to reduce the yellow and blue tone in the raw footage. I tried three different versions of grading. So to make the work easier, three adjustment layers were added in the timeline, and grading was done on the layers alone and placed the layer over the track were footage are sorted.

Workspace Screenshot:

Grade Version 1:

I’m a great fan of David Fincher and his Blue tone in movies. So, I decided to give a bluish tone to the whole film. The values give to the tones are shown in the screenshot below. The vibrancy and saturation were reduced to get the desired tone to the video. Blue colour brings a calming effect to the viewers, and this I have learned during my cinematography class in bachelors.

Effect Tool Screenshot:

Grade Version 2:

In movies, it said that a strong red colour has been shown to raise blood pressure. To experiment it, I tried to add a reddish tone to the video.

Effect Tool Screenshot:

Grade Version 3:

I tried to experiment low saturation and vibrancy for the version 3. Reducing all the Red, Blue and Green tone to a specific level made the video appealing.

Sound and Image was a substantial change of pace to what I was used to in Bachelors. The course is very slow paced, almost the moment you start you’re already thrown in the deep start. I think the course has helped me in reflectivity more than in any other area. One of the drawbacks I had going into the course was specialised learning. I had worked as cinematographer assistant, professional assistant director in 2 feature films and have been using Premiere Pro and Foundry Nuke for very nearly a time of my life. In that route, for me, it was the self-disclosure that I discovered most lighting up less the specialised preparing.

Here what I have learned is theory more than technical knowledge. I did filmmaking for my bachelor’s, and when I came here, I was compelled to learn everything from scratch, because, we are not even allowed to use handheld shots, or even pan or tilt in the shot. But, I had no experience in the writing part, and here I have learned a lot in that aspect. I took this class with a big dream, I took this for the opportunity to make a diverse range of great content, and I think the course certainly didn’t push me to do what I was dreamed off. I think more than anything S&I has taught me that intense focus is not always the best way to go about things. All through school, we would have these moments of focus, these problem areas of task due dates and essays and long-winded academic compositions and study. I think this has changed the way I make and has shown me to depend less on ability or talent and more on theoretical information.

I have delighted in the course up until now, yet I am extremely amped up for studios and having the capacity to sharpen my art in the second semester. I anticipate proceeding with my media travel here at RMIT University. Much obliged to you to all the fantastic tutors.

I came across ‘Forbidden Lies’, the phenomenal 2007 Australian documentary (directed by Anna Broinowski) while researching for an interview proposal for ‘Story, Genre and Medium’. While perhaps not one of the best-made documentaries from a technical standpoint, Forbidden Lies is definitely one of the most entertaining and intriguing films I’ve seen this year.

The sound used and applied in the sequence given from Anna Broinowski’s 2007 exploratory narrative titled Forbidden Lies, includes a music track, sound impacts, sounds recorded with a boom and a mixer catching the recording alongside other sounds that were possibly recorded and connected to the narrative. The film likewise includes altering systems, for example, a sound lead or in changing terms, a ‘J cut’, layering soundtracks and also quieting sound film to improve the sound that is layered over the recording.

The first scene appeared in the portion has used non-diegetic sound, making the scene feel like somewhat of a dreamscape and this maybe how Broinowski feels’ about the book under question. To help this approach, a music track plays over the recording while the first stable of the recording has been quieted. The sound impacts of winged creatures twittering happen and additionally an incredible sound, which is joined with a twirling move into the following scene. The sound effects are nothing especially favour and could in all probability be sourced on the web and are frequently accessible for nothing from noise impacts sites. Distinct sounds have been recorded maybe with a zoom recorder or sourced from set up sound effects to attract consideration regarding components inside the narrative that help the story.

The sound of the book being slammed is instantly trailed by a sound impact of what gives off an impression of being sand being separated (or perhaps anticipating what is to happen to the subject being referred to). There are several approaches to accomplish this in the altering procedure, in any case, the most legitimate way that I can consider is applying a J cut, layering the sound impact and bringing down the J track’s volume to take into account the sound effect to be of core interest. A ‘J cut’ is regularly utilised as an altering strategy to help with the moves between scenes however in this example, the sound of a book pummeling and also the picked sound impact gets the watchers consideration and maybe snaps them out of the fantasy like the presentation and into the topic of the narrative.

Demonstrating that truth is odder than fiction, the film disentangles like an elegantly composed riddle would she say she is coming clean, simply some portion of reality, or is everything that leaves her mouth an unabashed deception (like George Costanza attempting to lie out of more lies no matter what)? Some portion of the reason the film advances like this is executive Anna Broinowski moved toward Khouri with the aim of making a film that would disclose to her side of the story and excuse her from every one of the affirmations. So from numerous points of view, the film is truly Broinowski’s trip as she goes from stern devotee to unconvinced cynic. Exactly how far will Khouri go to demonstrate her honesty? There are a lot of sudden wanders aimlessly, as an ever increasing number of mysteries begin leaving the woodwork, but then, as Khouri is regularly the voice we listen, we feel nearly constrained to think all that she says.

The last half-hour or so might be too indulgent and redundant, and a portion of the strategies was somewhat mushy. However, all in all, Forbidden Lie$ is basically arresting. I can’t trust I hadn’t found out about the narrative until just two or three days prior.

“No Direction Home” is a legit documentary that rejects myths about rock music’s most noteworthy lyricist and endeavours to catch reality about Bob Dylan. Martin Scorsese has made an archive that will satisfy Dylan fans over repeated viewings and ought to bring naysayers into the Dylan overlay. The director Scorsese has assembled an interesting collection of performance clips of the young, folkie and early electric Dylan. Technically, they sparkle visually and sonically, and as a story-telling mediator, they convey the shock wave he sent through the America’s music scene soon after his coming. Best of all, the directors have tied the story together with visions from Dylan’s inner circle, and with lucid explanation and memories by the artist himself.

In this 3.5 hour documentary, I adapted more about Bob Dylan and the atmosphere around his music than I at any point thought I would. The setting begins in the place where he grew up, moves to the Village in New York and after that into history around the globe. Bounce Dylan’s remarks are blended all through as he recollects and portrays every one of the impacts in his music and life. Every one of my suspicions about Mr Dylan wasn’t right, and now I have reestablished regard for him. I generally enjoyed his music yet now I see it in another light. All through the motion picture Mr Dylan simply needed to make music. However, the melodic press continued classifying and naming him. The most amusing part was amid the public interviews when Bob Dylan continued being peppered with inquiries concerning understandings of his music that even amazed him. The motion picture closes right where it starts, with the music. I discovered this documentary rather wise and well-made. Described by Dylan, executive Martin Scorsese primarily talks with companions, associates and group of Dylan (and also Dylan himself) and gets to the foundations of his motivation and childhood.

The archival images that director has assembled draw upon the power of their indexical heritage, the particular relation between cinema and the real, rendering history as tantalisingly present, allowing the observer an impression of the commotion of Bob Dylan’s early career. Roland Barthes has reflected on the “return of the dead” and the immobilisation of time in photography, which he characterises as “a release of past reality”:

“The important thing is that the photograph possesses an evidential force and that its testimony bears not on the object but on time. From a phenomenological viewpoint, in the Photograph, the power of authentication exceeds the power of representation.”

The archival footage originates from many sources, including documentaries by Pennebaker and Murray Lerner (“Festival”). A significant portion of the meetings was directed by Michael Borofsky, and Jeff Rosen was a key supporter. Be that as it may, Scorsese gives the ace vision, and his actual footage unfurls with the account energy of fiction.

Having examined some genealogical connections between No Direction Home and Pennebaker’s work on Don’t Look Back and Eat the Document above, I need to extend this examination by considering the story state of Scorsese’s film. Not at all like in his histories of American Movies ‘A Personal Journey With Martin Scorsese Through American Movies’ (1995) and Italian Post-War Cinema ‘My Voyage to Italy’ (1999), Scorsese does not show up before the camera in No Direction Home. Here he is substance to play blend ace, strip-mining a jackpot of rarities, from sound and film recordings beforehand inaccessible in people in general space, to photos, manually written verses, notices and handbills. The story of the movie is sorted out around this material in a comprehensively sequential manner, supplemented by meetings with companions and associates, its movement chronicled in sub-titles denoting the progression of time. The type of No Direction Home is moderately clear: as far as Bill Nichols’ documentary scientific categorization, it would be portrayed as a standard TV style intuitive documentary, mainly subject to a blend of meetings and the Chronicle. Maintaining a strategic distance from any positive story turns, it advances teleologically towards its peak.

Watching him singing in “No Direction Home,” I see no look at cleverness, no endeavour to engage. He utilises a level, pitiless conveyance, more persevering rhythm than tune, practically lecturing. Be that as it may, once in a while at the question and answer sessions, we see snapshots of a bashful, amusing, energetic child inside. Also, only once, in his current meetings, found in profile against a foundation of dark, we see the apparition of a grin.

The Expository mode is the most recognisable in the world of documentary, so I’m going to talk about it. Expository docs are intensely investigated and are at times alluded to as article movies since they intend to instruct and clarify things — occasions, issues, lifestyles, universes and exotic settings we know minimal about. Ordinary generation components incorporate interviews, illustrative visuals, some fact, maybe a few representation and photographs and a ‘voice of God’ portrayal track. Scripted portrayal interfaces the story components and frequently unloads a theory or a contention.

It can be contended that the explanatory mode emerged from these errors that the poetic mode was defenceless in exhibiting, and additionally the “diverting qualities” of fiction movies. Therefore, the expository mode plans to teach the gathering of people and “bring out and delight a longing to know”, in this way it can maybe be accepted that it depicts an accurate portrayal of a given reality. While the legitimate, straight structure of explanatory documentaries strengthens this and the sequence of actual fact, its run of the mill tradition of voice over ostensibly twists the mode’s capacity to speak to reality precisely.

Maybe the most appropriate example to use is Night Mail (1936); an early narrative that takes after a postal prepare’s overnight trip to Scotland in which its mail is sorted, dropped and conveyed.

In spite of the fact that the voice-over is seemingly educational, with respect to the labourer’s activities, its melodious configuration, truth be told, appears to have a hidden disseminator expectation. i.e. to support the average workers of their own significance when an industrialised war seemed up and coming. This to some degree strengthens Nichol’s thought that the gathering of people is reasonable, or possibly supported; to acknowledge that there is an “immediate connection between the pictures and voice over”.

These days the explanatory mode is for the most part connected with nature documentaries, for example, The Blue Planet.

Here, David Attenborough’s voice clarifies the development, condition and propensities for different tenants of the sea. Expecting Bill Nichols is right concerning there being a connection between the pictures and voice over, it can, consequently, be contended that a favoured significance is developed inside the narrative as the gathering of people are not urged to by and by cross-examine the pictures and account freely.

In spite of the fact that this hypothetically does without a doubt distort reality, it ought to be viewed as that the aims of the explanatory mode are instructive and consequently explore more likely than not been led keeping in mind the end goal to truly show a specific view, especially on account of science orientated documentaries like The Blue Planet. Considering this, it can be expected that there is some broad understanding of the perspectives that the voice-over communicates; along these lines, the expository mode can be effective to some degree in exhibiting a “true” documentation of reality.

All things considered, it ought to be viewed as that similarly, the poetical mode guides the crowd to a particular conclusion through the methods for underscored visuals and poetical control, the expository mode likewise surrenders to displaying a built reality through the predominance of the voice over and the direction this gets to the gathering of people understanding intricate, nitty gritty story of expository documentaries.

The “Why We Fight” (1942-43) arrangement of promulgation movies appointed by the administration to clarify U.S. contribution in World War II were made in great descriptive style. Different cases incorporate current undertakings docs made for “an hour,” History Channel projects, and nature movies, for example, “The Blue Planet.” The general verifiable documentaries of Ken Burns (“Mark Twain,” 2001; “The Dust Bowl,” 2012) fall into the interpretive classification.